It seems as if there’s a heaviness arms race within metalcore (One type of metalcore anyway) at the moment. Over the last few years, the genre has been taken to new limits every few months, with the frontiers of brutality and heaviness reaching new extremes on an almost regular basis, without it veering into Deathcore territory. The guitars are getting more evil, the breakdowns stupider and the vocals are becoming almost otherworldly. Then you reach a crossroads…do you drag your knuckles even further into the ground or do you seek out new means of sonic extremity?
One of the bands at the forefront of this are Nashville’s Chamber. Having introduced themselves to the scene with an EP and a well received (Yet sadly lost in the COVID shuffle) debut full length, the group are hoping that this record manages to land with more impact. In terms of the aforementioned crossroads, these guys chose the road with attacking, wild riffs and drumming so frantic that to even attempt to headbang to it would snap your neck like a twig.
Titled A Love To Kill For, the record is summed up by guitarist Gabe Manuel as “It’s an album about people getting lost or mired in bullshit, whether that’s addiction or narcissism or selfishness. There are all sorts of ways the people you love can fail you in search of themselves, and ways people don’t come back from that.” Now on paper, those are themes that a lot of people can relate to, and lend themselves well to some sonic extremity.
“From the moment you press play, immediately you're put on edge”
With opener ‘Chamber’, coming out of the blocks swinging, there’s no slow build up here. Swirling, squealing feedback assaults your ears from the moment you press play, and immediately you’re put on edge.
First track ‘Chamber’ hits like a sucker punch to the back of the head, forcing your face first into a maelstrom of aggression and shrieking grooves. ‘Retribution’ continues along a similar path, with the band employing scathing pick squeals to good effect. There’s a drop into a slightly more melodic moment that tricks you into thinking a clean chorus is on the way. You’d be mistaken though, as the intensity continues to build until a sledgehammer breakdown and mosh part, guaranteed to break a few noses live. ‘At My Hands’ and ‘Tremble’ are more of the same, at times employing some layered vocals and a sinister, almost murderous edge to things.
Perhaps the most similar band to them at the moment would be Orthodox. Chamber may be more likely to start a riot, but the scattered, technically-excellent-yet-not-overly-memorable riffs and bewildering drum patterns are a constant in both groups. While Orthodox tend to veer towards the proggier end of the scale, don’t let take anything away from the song craft on display here.
One of the only issues with this record is one that probably won’t be an issue for all, but at times the vocals can be too low in the mix and become swallowed up in the midden of blasting instrumentals. Jacob Lilley has a powerhouse set of lungs and at points on this record, it’s a shame that you cant hear them a bit better. The guitar work however, is some of the best in the game at the moment, with Gabe Manuel doing himself proud.
“The 25 second long ;Our Beauty Decayed, Nothing Was Left', produces one of the heaviest and most satisfying moments on the record”
The highest points on the record are with guest vocalists, two of the most ferocious singers named Matt on the scene. One of the bands most exciting peers Boundaries are featured on ‘To Die In The Grip of Poison; and Matt McDougal absolutely smashes it. ‘Devoured’ features the frankly behemoth like vocals of Kublai Khan TX frontman Matt Honeycutt, and they fit Chamber’s balls out heaviness perfectly.
With only two tracks clocking in at over three minutes and the whole record barrelling by in what feels like no time at all, while there are memorable moments, nothing feels like it will stick in the memory for too long. The 25 second long ;Our Beauty Decayed, Nothing Was Left’, produces one of the heaviest and most satisfying moments on the record, showing the band know how to make a fierce impression in a short amount of time. However, ‘Cyanide Embrace’ and the title track feel a little padded out and meandering at times, despite being the aforementioned only tracks over three minutes. The band seem much more comfortable delivering sharp, short shocks, as the 68 second grindcore-esque closer ‘Hopeless Portrait’ demonstrates perfectly, summing up the albums chaos succinctly.
None of this takes away from a band at their most abrasive and creative however. They stand firmly at the forefront of the heavier metalcore scene and haven’t compromised an inch as they grow as a band. A few production missteps don’t ruin a brutal, seismic album that at times, feels like taking headshots from an entire UFC division at all angles.